Complaining women are recognizable figures in many societies. In India, this familiar figure is further consolidated through humorous takes on how women, with their constant complaints and nagging, suck the joys of domesticity. Sometimes, this constant nagging is mobilized to justify a series of incursions on women’s well-being, like why their spouses cheat on them or leave them, or subject them to quotidian forms of violence to shut them up. These are cautionary tales for women that complaints undermine their status and well-being. Women are told to grin and bear it, even as they are frequently seen as incapable of doing so. Following Chua’s formulation of the “register of complaint,” we see complaints as comprising “emotionally charged, interactional processes of accusation, arbitration, and reportage” that express “concern, frustration, disappointment, and even cynicism” in different social relations (2012:222). In this essay, we draw from the Netflix India series, Kohrra (fog), directed by Randeep Jha (2023), to analyze the persistent forms of women’s complaints that are articulated without any discernible accompanying action towards effecting change. We reflect on the meanings and work of such complaints vis-à-vis the social and kin networks within which they occur and against whom they are uttered. These include, for example, a wife’s complaints that verbalize a litany of reasons for her unhappiness or unfulfillment in a marital arrangement even though she makes no attempts to exit that relationship or initiate changes in it. These complaints often cause embarrassment and discomfort to those witnessing them...